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ties they stood for are probably lost to us forever. Despite claims to the contrary, pyramids do not possess the powers to heal or prolong life or even to sharpen razor blades. If the pyramid is being used to suggest a high and distant mystery then it is also not a symbol since symbols derive their thrust and impact from concrete experience.
The masks surrounding the work by Joel Hoyer serve only to emphasize its pretentiousness. Whatever their masks may mean to the African or South Sea Islander, they cannot have that meaning for us. For someone grown up in western culture masks invoke not realities but vague, exotic stereotypes. The idealization of these distant cultures, so often thought to be more in touch with some universal truth than ours, is often what lies behind these fruitless borrowings. The idea of the “noble savage,” untainted by the corrupting influence of civilization, is as old as the eighteenth century. By now it is a hackneyed fantasy, a corpse of a stereotype, which should be put away for good. If the power of masks arise out of the reality they represent then how can We expect an African mask to come to life in an American art gallery? Shorn of their connection to living realities, these masks become decorative obiects.
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